The Great Railway Bazaar by Paul Theroux

When, some thirty years later, Paul Theroux repeated the journey that he had described in The Great Railway Bazaar, he declared travel writing to be ‘the lowest form of literary self-indulgence.’ His original journey in the early 1970s was a deliberate act, a ruse upon which to hang a book. The travel featured was nothing less than an occupation, whose sole product was to be collected and recorded experience. We, the readers, must thank him for his single-minded devotion to selfishness, for The Great Railway Bazaar takes us all the way there without having to leave the armchair.

The journey began and finished in London. In between Paul Theroux took the orient Express to Istanbul and then crossed Turkey, Iran and Afghanistan before doing the length of India. He even went to Sri Lanka by train. Then there was Burma and a meander through South-East Asia. His account of smoking cigarettes in Vientiane will stick in the mind. Malaysia and Singapore were taken in, the latter clearly not being to the writer’s taste. Japan was clearly a curious experience, but the Trans Siberia from near Vladivostok to Moscow seemed strangely predictable, its length being its major characteristic. Eventually, the final leg across Europe hardly counted, a mere step along a much bigger way.

Any such journey can only offer mere impressions of the places en route, but such first impressions are always interesting in themselves, if not always accurate or justified. Thirty years on, some of them may even have historical significance. It would be a challenging task these days to cross the current Iran and Afghanistan by rail. And a contemporary journey would surely cross China, a route barred to the 1970s independent traveller.

But it’s the people met along the way that give the book its prime characters. We never get to know these people and we encounter them largely as caricatures, but it is the experience of travel that is described, and this experience inevitably involves a multitude of these ephemeral encounters. They are always engaging. We expect to be confronted with the surprising, the unknown and the little understood. We expect the experience to be recorded, whilst the mundane is edited out of the account. And furthermore, we do try to make sense of our often confused responses to the unexpected. This is why we travel: at its base it is a challenge.

Paul Theroux does litter the trip with indulgence, however. There is a fairly constant search for alcoholic beverages, for instance. Furthermore, in several places there are encounters with and deliberate attempts to seek out the local low life. Offers of girls, boys, older women, wives, transvestites and every imaginable service are received. Sometimes, the services in question require some imagination. It is easy, of course, to sensationalise experience when it is sought at the margins of what a society dares to admit. In the case of Japan, where much of this material is located, it has to be admitted that the margins are rather wide.

Balancing this crudity is Paul Theroux’s constant desire to reflect upon his love of literature. Some of the material he recollects produces some wonderful insights, surprising juxtapositions and apposite comment.

Travel writing might be pure self-indulgence, but this particular example of the vice transcends the purely personal. It feels like being taken along for the ride. Thus, like all good travel writing, The Great railway Bazaar is not merely an account of another’s observations, it is nothing less than a journey to be experienced.

Kazuo Ishiguro’s novel An Artist Of The Floating World

Superficially, Kazuo Ishiguro’s novel An Artist Of The Floating World seems to present a gentle observation of manners. There’s a daughter to marry and thus associated contracts to be nurtured and negotiated. There’s a relationship with an eight-year-old grandson who in the late 1940s is growing up with American cartoons and comic book heroes as his cultural icons. And, above all, there’s the artist himself, bound up with concerns of style and expression, keen to re-examine his influences, especially those arising in the floating world.

His teacher had been instrumental in focusing his tutees on this floating world which could be found in the city’s night-time entertainment district. The artist of this world of pleasure, Masuji Ono, learned well from his master and adopted much from his style, technique and philosophy of Japanese painting.

But Ono was not satisfied to portray the floating world’s beauty for its own sake, or mere pleasure to evoke delight or diversion. No, he had other ideas, such as comment, loyalty, justice, pride, amongst others. And it is because of the direction of Masuji Ono’s developing inspiration that provides the book with its sinister, even violent thread.

An Artist Of The Floating World is set in post-war Japan. There is cleaning up and reconstruction to be done. There is much rebuilding, and not a little reconstruction, much of it not merely physical, but also cultural. A victor’s imposed norms are changing Japan’s future, perhaps to the relief of many who cannot live with their own country’s past. Masuji Ono finds himself at the centre of this transformation because of his previous success as an artist. But, as he continues to seek a future husband for his younger daughter, his personal achievements apparently divide his acquaintances, pupils and even friends into distinct camps, those for, even reluctantly, and those definitely against.

The novel seems to inhabit similar territory to Orhan Pamuk’s later book, My Name Is Red. There is a debate about culture, heritage and identity at the heart of an apparently rather narrow discussion of aesthetics and artistic influence. While Pamuk’s characters inhabit the cut-throat world of the Ottoman court, Masuji Ono lives in a country defeated in war and ravaged by it. The desire to break with the past brings as much tension to Ono as the desire to retain it does in Red. But the style employed in An Artist Of The Floating World is deceivingly gentle and belies the deep tension and conflict at its heart. Kazuo Isiguro’s prose is always silky smooth, so much so that An Artist Of The Floating World seems like a short, even simple book. Luckily for the reader it is neither.

The Housekeeper and The Professor by Yoko Ogawa

Yoko Ogawa has written a novel called The Housekeeper + The Professor. At least that’s what it says on the front. On the back it’s title replaces the + with “and”. It’s a good book, well written, engaging and thoroughly enjoyable, but it’s also a book that falls well short of its stated intention. Personally, I blame the designer, because on the title page there’s “and”, not the + symbol. The difference is important. The book’s content affirms that.

The Professor of the title is a former specialist academic mathematician and, guess what, the Housekeeper is his housekeeper. Back in the 1970s, the professor suffered a serious road accident, a head-on collision that left him seriously disabled, not physically, but mentally as a result of head injuries. He needs care, not least because his memory span is precisely eighty minutes. 

Anything that happened longer ago than four times twenty minutes is unknown to him. His life and knowledge from before the accident have been indelibly etched into an unchanging recollection of the past, but the present is eternally and precisely eighty minutes of age. His new housekeeper takes up her post. She finds a dishevelled old man with post-it notes stuck to his suit. It’s his way of remembering things that happened an hour and a half ago. His apparent disorganisation is something of an illusion. She soon finds that somehow memories trivia associated with the adhesive notes are stored. He loves baseball, and collects player portraits. But his sport dates from before his accident.

He has a sister-in-law who organises and oversees his care largely without intervention, except when needed. Gradually the single mother housekeeper becomes involved with the professor’s passion for mathematics – mainly numbers, it has to said. For him, it’s an order that originated with God. Some interesting conjunctions of number are identified. She cares, he enlightens. She learns. That’s the deal. The housekeeper has a young son. He has a rather flat head that reminds the professor of a square root sign. From that moment, the lad is known as Root, even by his mother. I find this not credible. Root and his mother get to know the professor and via him some aspects of mathematics that you might also find in puzzle books.

There’s a bit of number theory – Pythagorean engagement rings, perfect numbers, triangle numbers, series sums and – strangely out of place – Euler’s formula, without explanation or development. An odd conjecture surfaces and our previously non-mathematical housekeeper suddenly adopts all the technical language, the specialist names and even a concept or two without problem, despite typographical and technical errors in the text. Personally, I adore novels that deal with the concept of identity. Usually, however, it’s not its contrast with the concept of an equation that provides the spice.

The professor in Yoko Ogawa’s book seems not to notice the difference, despite his penchant for minute accuracy everywhere else in his life. Via a combination of baseball and numbers Root becomes enthralled, educated and inspired. It’s a good read and I applaud the author’s attempt at blending a mathematician’s passion for his subject with an initiate’s joy of revelation. But disbelief has to be suspended here. When Root is not there, the professor and his housekeeper seem to discuss his needs, despite the professor’s declared inability to remember his existence. There’s the equation versus identity issue above, but then that is related by the housekeeper, so the error might be hers. She, however, seems surprisingly unruffled by the renaming of her son and with ideas that would surely have seemed to be in a foreign language. It’s a bit of fun and worth reading, but as a novel it’s not an achievement.

The Woman In The Dunes by Kobo Abe

Novels in translation always present at least twice their share of pitfalls for the reviewer, or even the reader. A translated novel has to be approached as a package, experienced as such and reviewed in kind. After reading The Woman In The Dunes by Kobo Abe I am presented with a wholly new dilemma, however. An entomologist disappears while out bug hunting. He finds himself a virtual prisoner in a sand pit, a pit inhabited by a woman with whom he soon finds a predictable solace. He tries to escape, and does not. He dreams of escape, and does not achieve his goal. The characteristics of his new environment seem to contradict all of his assumptions. Nothing helps. The Woman In The Dunes might be described as absurd. Equally, the term nihilistic might be appropriate. It might even be deliberately trivial. As such it presents an intellectual challenge to the reader who, of necessity, must constantly interpolate the banality of the book’s inaction into a sub-text of potentially enormous significance. I say “potentially” enormous significance because I remain unsure, having finished the book, whether any significance at all might apply. But then again, perhaps that’s the point. The Woman In The Dunes has been likened to Kafka’s Trial or the absurdity of Samuel Beckett’s plays. As an experience, however, none of the suspense of the former nor the bald linguistic power of the latter. Perhaps the novel’s rather one-paced prose was a true reflection of the original. If so, then I might suggest that the writer rather over-stated his point. View the book on amazon The Woman in the Dunes (Penguin Classics)

Sir Phoebus’s Ma by Zoë Teale

Zoë Teale’s Sir Phoebus’s Ma is more of a travelogue than a novel. It’s a series of impressionistic reflections, experienced during a year in Japan. The year was spent by a twenty-two-year-old English teacher in a regional northern town, where the students are not as motivated as the stereotypical oriental swot. Teaching methods are traditional, downright boring from the point of view of a recently-qualified practitioner, but they are as unquestionable as they are ingrained. Anna’s supervisor is a traditional Japanese male, at least that’s what Anna thinks. He is called Moriya sensei. There is a suggestion of eccentricity in his habit of translating tombstone inscriptions. There is also a hint of a willingness, nay desire to sample a foreign taste or two, especially when it comes in the shape of a young female teacher subordinate. 

If only our central character, the teacher herself, who is the book’s first person narrator, could have willingly sampled a few of the local tastes for herself… Not that I thought an affair between herself and Mr Moriya was ever likely or desirable, perhaps from either party’s point of view. But without that tension, the book would have been quite plot-less, since the plot was never allowed to intrude on recalled experience. Anna and some other expatriates are keen to experience tradition and the indigenous. They can’t cope with the food, of course. 

Anna herself travels to the other side of the world eager to seek out the authentic, but she refuses to leave her vegetarian preference at home. She compromises on eating fish, but when seriously asked an opinion on whether she would eat whale meat, she seems to have no position, which is strange, which ever way you view the character. In some ways Anna embodies the confusion of Western identity. She is keen to experience the authentic and professes respect, a romanticised, perhaps self-obsessed respect, of course, for its assumed value. But at the same time she is unable to participate in what she encounters and is thus rendered a permanent spectator by the pressure of her own neuroses. She emanates from a culture that is ignorant of itself, but afraid to be anything else. Anna’s Japanese hosts are tolerant. Imagine a Japanese visitor to a rural English town insisting on eating only Japanese rice. How far would she get? 

 But Sir Phoebus’s Ma is still worth reading. We are told snippets of legend, participate in the odd celebration or two and nose our way into a taste of Japanese domestic life. Anna’s trip to Kyoto, though brief, is mildly evocative, despite her difficulties at the Golden Temple. There is a sense of contemplation, a ceremony of tea and a hint of wasabe. But a hint is as far as Anna will go, since the tingle in the mouth seems to repel her. Eventually, we see this as inevitable, given the confused, arm’s length English reserve with which she cloaks all life. View the book on amazon Sir Phoebus's Ma

A memory of Kyoto

It’s often that chance encounters, the unplanned events, linger, long after the excursions and the sights of a particular trip have faded. It was in 1998 when my wife and I visited central Japan, basing ourselves in Kyoto, having availed ourselves of cheap flights from Bandar Seri Begawan, courtesy of Royal Brunei. I can place the date exactly, because it was during the early group stages of the 1998 World Cup in France. I can remember vividly watching television in a bar and seeing David Beckham being sent off in the game against Argentina. And on the evening that the Japanese team was eliminated, beaten by Croatia, it seemed that the whole nation cried. And then they all got up for work the next day as if nothing had happened, all hubris presumably having been publicly and duly dispatched.

But of course it’s the differences that the ephemeral traveller notices. We had done our research and were resolved to experience something quintessentially Japanese. An essential part of this was to stay in a traditional small hotel called a ryokan. We couldn’t manage to arrange it right away, but did manage more than a week in the place we had earmarked, which was Ryokan Yuhara, right on the canal banks at the southern end of the Philosophers’ Walk. We even managed a room at the front with a balcony, overlooking the water.

And so to some of those differences, so carefully noted and recorded. It started, and perhaps finished, with the shoes. Outside shoes were left in the foyer, each room having a designated pigeon hole in a large wooden rack, a space that holds your corridor shoes. So the rack is really a large status board for the hotel. Outside shoes in the rack means that you are in, whereas corridor shoes in the rack means you are out.

Corridor shoes are exactly what their name suggests. They are worn only in those communal areas where there’s no water. In your room, you have your room shoes, which never go out. So if you go to the toilet, you change out of your room shoes to your corridor shoes, make your way to the loo and then change into your toilet shoes.

And then you confront the toilet seat, a remarkable computerised robot that can be programmed for individual preferences. It can be heated or cooled. It plays music. It wipes itself clean after use. It plays a recording of a toilet flush to hide the actual noise your own flush makes. It probably turns you upside down, sprays you with eau de cologne and announces, “Pleased to be of service,” if you wish. No wonder you need special shoes.

And then there’s the bath. This has to be booked. There are half hour slots and, having reserved your time, you don your dressing gown and await the knock on the door. The maitre d’hotel is there, waiting to frog-march you down to the bathroom where, of course, there’s another pair of shoes. It’s a house rule that occupants of a room bathe together, by the way. Think carefully before booking this place with your granddad. A conventional shower with soap and shampoo is followed by a ten minute soak in a deep tub, the hot water being merely replenished, not replaced, between slots, so everyone shares the same water. It’s an amazing place.

But the most enduring memory of the whole trip arose from a completely unplanned event. Kyoto’s temples were quite stunning, of course, and we tried to see as many as we could, so our itinerary sometimes required starting out quite early in the morning. It also meant that we could often wander through the beautiful gardens on the way and take our time. One morning in particular we had set out very early and walked some distance in the direction of a particular temple, Sanjusagendo, famous for its ranks of hundreds of Buddhas and boddisatvas, a veritable crowd of statues, each with no less than 44 arms. So it was still quite early when we sought out breakfast in an area of the city that was new to us. Many restaurants and cafes still had their shutters down, but, after quite a trek, we found one where the door was open.

Outside there was the customary large display board. These seemed to be a common feature of all Japanese eating establishments. They carry pictures of the dishes on offer so that they can be ordered by number, a far easier process than trying to list often complicated sets of ingredients. Imagine twenty different noodle dishes, all of which have vegetables and seafood. The numbering system works. My wife and I looked at the display, noted the illustrated breakfast and went inside. The pictorial menus were a complete godsend for us, of course, since we could not read a single character of kanji.

So we sat down. There was another menu card on the table. I took it to the bar, attracted the attention of the proprietor, who was bending down to restock a fridge, pointed to the relevant picture and indicated that we wanted two of them. We lived in Brunei at the time and were not too far from home, so we thought we were used to most things Asian. We were surprised when the owner replied in English, however, with an immensely polite, “Certainly, Sir, poach, scramble or fry, and with tea or coffee?” I ordered the coffee.

While we waited for the food to appear, we wandered around the room. We were the only customers and there were several interesting photos in frames on the wall. It was clearly a well known place. A framed letter signed by the all the Canadian members of Disney on Ice expressed appreciation for the food.

The food took a bit longer than expected, but it did eventually arrive. And it was excellent. A large and tastily-dressed salad of pickled cucumber and orange was topped with three poached eggs and croutons. We ate well.

And then we had a chat with the owner, who proudly showed us some more photos. He guessed we were British, which I think was not difficult, and explained how, in the 1960s, the Queen and Duke of Edinburgh had passed along the road outside as part of an official visit. And there was the photo, with the restaurant in the frame, as the royals processed.

We were in the café for almost and hour, eating and chatting. It never crossed our minds to wonder why we were the only customers. And then I thanked our host, said we would have to move on and asked for the bill. I was immediately surprised when he said there was nothing to pay. After being lost for words, I managed to ask him why our breakfast was free and he answered, very pleasantly, “It’s because we are closed, Sir.” He pointed to the display board we had scrutinised on the way in, the one with the picture menu. It quite clearly said CLOSED in large English letters right across it. Expecting kanji, we had not seen it. He had a good laugh and wished us a pleasant sty in Kyoto.

As a tourist, it’s the differences you notice, but it’s the human similarities, the universal human values that endure.